“The Edinburgh Quartet have some magic dust around them that creates real homogeneity and synergy”

I saw on Facebook that a friend of mine was going to Wednesday’s Edinburgh Quartet Rush Hour Concert, and “ticked’ that I was going too. “They’re playing the Rasumovsky Quartet”, he enthused, virtually. “Which one?”, I replied. “Eh?”, came the rejoinder. For not many people know that there are in fact three, all commissioned by Count Andres Rasumovsky, the Russian Ambassador to Vienna, with the stipulation that they should contain Russian themes. Well actually, the one we heard, the third and arguably the finest, didn’t, but it contained an awful lot of interesting new approaches to the genre.

The Edinburgh Quartet bring a pleasingly creative approach to their programming and tonight we heard from Edinburgh Artist Erik Petrie, who was working alongside them this week at their Residency at the Ocean Terminal and just hours earlier had completed a magnificent, colourful violin scroll canvas which the Quartet proudly displayed. Second violinist Gordon Bragg discussed the intriguing relationship between quartet and artist with Erik before the concert started.

The Edinburgh Quartet have recently adopted a practice of having a theme for their concert series, and the theme for this early part of the New Year is “Revolution”. For certain, the works by Mozart (French Revolution) and Shostakovich (post Russian Revolution and very influenced by Stalin) could be deemed as appropriately covered by this banner, but for Beethoven in 1808 it was stretching a point, other than that the Rasumovsky Quartet, Op.59 No.3, is certainly revolutionary in construction.

The first movement Allegro opens with a series of diminished sevenths punctuated with silences that set off an atmosphere of wonder and mystery, resolving into C major and we are away in more conventional quartet form. Quite a shock for its audience then and quite a surprise today. Comparisons and styles can legitimately be made to `Mozart’s “Dissonance” Quartet.

The Andante con moto employed a lot of pizzicato and if Beethoven was trying to persuade his sponsor that the quartet contained a Russian theme it would be here, with its intimations of folk song.

Come the third movement Allegro we found ourselves listening to a cheerful minuet, yet just as we were beginning to relax and take it easy we barnstormed into the final Presto at breakneck speed. The players did not make one slip in these very demanding passages which they delivered with real verve. One felt the spirit of troubled Beethoven, hounded by deafness and in the process of beginning to admit it to his brothers and close friends. On the early sketch of this movement he had written “Let your deafness be a secret no longer – not even in art.”

Yet again, despite a number of personnel changes, the Edinburgh Quartet have some magic dust around them that creates real homogeneity and synergy, giving the impression they had been playing together for years. We had a relaxed yet assured, inspired performance. The tight, together playing we have become accustomed to, and sheer listen-to pleasure, was joyfully experienced tonight as always.